Note that I also shoot at shutter speeds of 1/2000 sec. Nikon’s 3D Focus Tracking, which is what I typically use these days, frees you up from having to concentrate on keeping the AF point over the subject and really helps when composing. In general, you want to see the entire wave as it curls up above the surfer-especially if it is a big wave. To compose, I choose a focus point where I want the surfer to be in my frame and then put that point on the surfer, being mindful of the shape and size of the wave. To get sharp images, I set the autofocus to continuous mode so the camera will continually adjust the focus as the surfer moves toward me. And with such a big lens, you have to be looking through the viewfinder and ready to shoot before the action starts, or you will have already missed the shot. Any slip in your concentration could cost you the best shot of the day. Because the surfers are catching waves at will, you need to stay sharp and pay close attention for that split second when they go for a wave. On the beach there are a lot of distractions, and after a few hours it is easy to fall into a lull. The reality is that if you are not capturing thousands of images, then you are missing a lot of would-be-amazing surf action images.Īnother issue is staying ready to shoot at any moment. In general, if you shoot a full day, you can expect to have three to four thousand images or more to edit. The flip side of this, though, is that a faster camera will produce more images to go through after the fact. The faster the frame rate, the higher the chance of capturing the height of the action. I recommend a camera that can shoot at eight frames per second or faster. In addition to a long lens, a camera that can shoot at a fast frame rate will be critical to catch the split-second action. Nikon D700, AF-S NIKKOR 500mm f/4E FL ED VR, Gitzo tripod, Wimberley gimbal head. On these 40- to 50-foot waves, the surfers would free fall for 10 or 15 feet before they even hit the wave face, which made for amazing images. Mark Healey dropping in on a big wave at the 2009/2010 Quiksilver In Memory of Eddie Aikau big wave surfing competition in Waimea Bay, Hawaii. I highly recommend draping a towel over your lens and camera to keep them from getting worked over by the corrosive ocean spray. In my experience, anything but the best telephoto lenses will miss autofocus more often than I would like, which is why I always rent a top-end 400mm f/2.8, 500mm f/4 or 600mm f/4 lens when shooting from the beach. One critical factor to think about when choosing a lens is that autofocus speed and accuracy will be tested while shooting surfing. Nowadays, there are quite a few smaller and much less expensive options like the current crop of 150-600mm zoom lenses. In the old days, getting these long focal lengths meant using a 500mm f/4 or a 600mm f/4 lens. Unless you are Arnold Schwarzenegger, you’ll also need a sturdy tripod and ballhead or a gimbal head that can deal with such a massive lens. Working from the beach or a nearby pier is the easiest option when it comes to shooting surfing, and it normally requires a big lens, usually a 600mm lens or the equivalent. In each scenario, there are different considerations in regard to the equipment required, composing the image, focusing the camera and achieving an accurate exposure. Third, you can get in the water and shoot from inside the wave or under it. Both of these first two options use a telephoto lens to shoot from a distance. Second, you can shoot from a boat or a jet ski. First, you can shoot from the beach or a nearby pier. There are typically three ways to photograph surfing. In this article, we’ll discuss the basic techniques and what’s involved when heading out to shoot surfing. From exploding waves to surfers launching down huge wave faces, the number of photographers interested in surf photography has grown exponentially. Because of this, there has been a swell of interest in surf photography. The athleticism and skill on display by world-class surfers pushing the boundaries of what is humanly possible on huge waves is a visual feast for any photographer. Surfing is one of the most exhilarating adventure sports, bar none. Nikon D700, AF-S NIKKOR 200-400mm f/4G ED VR II 400mm, Gitzo tripod, Wimberley gimbal head. To get this image, I panned the camera as smoothly as possible as the surfer flowed across the wave face. A long-exposure motion blur image of a surfer riding a perfect tube at Banzai Pipeline on the north shore of Oahu, Hawaii.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |